From her early days in production and writing, Ruth Kadiri has consistently showcased an exceptional flair for weaving unconventional narratives that evoke profound emotions.
She has often managed to infuse a unique essence into familiar storylines, setting her characters apart from the myriad iterations of similar plots.
However, her latest work, "Better Half," which adheres to the classic Ruth Kadiri storytelling format, veers uncomfortably into the realm of toxicity.
The storyline of "Better Half" revolves around the unfolding events between Kanye, a young university student portrayed by Chidi Dike, and Sia, one of his lecturers played by Uche Montana.
Kanye's infatuation with Sia drives him to create an online persona named Kennedy. Under this fabricated identity, he forms a connection with her and eventually enters into a relationship.
Kennedy poses as an older individual living in the United States, establishing a long-distance romance.
Over time, Sia finds herself falling in love with Kennedy, culminating in a proposal where he sends her an engagement ring via mail. She accepts the proposal, and they proceed with a traditional wedding ceremony, with the groom conspicuously absent.
It's only after the ceremony that Sia discovers she's actually married to her own student, Kanye. Faced with the repercussions of his actions, Kanye embarks on a journey to seek forgiveness from Sia and rekindle her love for him.
To be candid, the synopsis above strikes an unsettling chord, resembling the setup of a horror thriller rather than a romance. While the longing for romantic relationships, particularly with affluent and appealing partners, can certainly ignite our imaginations, a narrative like this should raise red flags for most mature individuals.
Yet, what we're presented with is a story wherein a young man manipulates an older woman into marriage and adamantly refuses to annul the union.
Astonishingly, the elders within the story validate his stance and enable his behavior. Here, the boundary between art and society's influence begins to blur.
In Nigerian culture, a persistent pursuit by a man, even after repeated rejections, is often celebrated as "knowing what he wants," rather than seen as disrespectful towards a woman's autonomy and choices.
Similarly, a man's unrelenting pursuit of a woman is labeled as "persistent" rather than recognized as a form of stalking. Unfortunately, after enduring years of tolerating such behaviors, we find ourselves at a point where being trapped in a marriage is deemed socially acceptable and even romanticized.
Beyond its storyline, "Better Half" stumbles into the common pitfalls frequently observed in Nollywood productions tailored for YouTube.
One glaring instance is the portrayal of lecture halls and university settings, which borders on the comical.
Interestingly, the vicinity surrounding the Lekki Conservation Center seems to serve as the exclusive backdrop for these university scenes, yet minimal effort is made to disguise the prominent signage.
Scenes depicting students presumably attending lectures inadvertently showcase them entering doors that lead to the Conservation Center's office space. Moreover, the lecture halls themselves are devoid of desks, rendering them implausible.
Another shortcoming lies in the insertion of music into scenes. The music often feels stuck in a repetitive loop, occasionally halting abruptly, resulting in moments of eerie silence until someone from the production team intervenes and hits "replay." Regrettably, these limitations have come to be accepted norms for YouTube movies.
In terms of performances, Uche Montana and Detola Jones, portraying her friend 'Muna,' carry the weight of the film. Unfortunately, Chidi Dike appears ill-equipped to tackle the role of the male lead.
His facial expressions remain consistently static, his gestures come across as wooden and unnatural, and his inability to convey emotions effectively only amplifies the discomfort brought on by his character's actions.
Should you watch "Better Half"? Judging by the commentary surrounding the movie, if you align with the average Nigerian viewpoint, particularly if you grew up within the country and adhere to prevailing community values, there's a strong likelihood that you'll find the romantic elements of the film appealing.
However, if you belong to the category of individuals who perceive the aforementioned behaviors as genuine displays of disrespect towards women or as instances of stalking, this movie might evoke more frustration than enjoyment.
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